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Course Syllabus Fashion Photography ART 237 – 24472 Scottsdale Community College - Main Campus Spring 2017 Instructor: Roger E. Palmenberg

PORTRAIT PHOTOGRAPHY SYLLABUSweba.scottsdalecc.edu/syllabus/4172/4172_ART237_24472.pdf · Course Syllabus Fashion Photography ART 237 – 24472 Scottsdale Community College - Main

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Page 1: PORTRAIT PHOTOGRAPHY SYLLABUSweba.scottsdalecc.edu/syllabus/4172/4172_ART237_24472.pdf · Course Syllabus Fashion Photography ART 237 – 24472 Scottsdale Community College - Main

Course Syllabus

Fashion Photography

ART 237 – 24472

Scottsdale Community College - Main Campus

Spring 2017

Instructor:

Roger E. Palmenberg

Page 2: PORTRAIT PHOTOGRAPHY SYLLABUSweba.scottsdalecc.edu/syllabus/4172/4172_ART237_24472.pdf · Course Syllabus Fashion Photography ART 237 – 24472 Scottsdale Community College - Main

ART237 - Fashion Photography – Syllabus

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

“...I’m an incurable dreamer with a wild imagination. That’s what I truly love about fashion

photography—there are no rules, no boundaries, just pure self-expression. Anything your mind can

imagine; you have the power to create.” Dixie Dixon, ‘Rangefinder’ January 2012

“It is one thing to take a picture of a stranger. It is a much more difficult thing to make a portrait of a

stranger to whom the viewer will care about.” Paul Strand

“The lesson was that a portrait must get beyond the almost universal self-consciousness that people have

before the camera. If some moment of reality in the personality of the sitter did not happen, you had to

provoke it in order to produce a portrait that had an identity with the person. The essential thing was to

awaken a genuine response.” Edward Steichen, ‘A Life in Photography’

“… The role of the photographer in the making of a portrait is to listen and observe, feel and absorb, to

take the time to learn that story before ever unpacking the camera. Caring comes before you can capture

their story on film. In this way of thinking, to make a portrait is to be a blend of translator and

storyteller…’ Brooks Jensen, editor and publisher of ‘Lenswork’

COURSE NUMBER: ART 237 – 24472 Fashion Photography (Three credit-hours)

INSTRUCTOR: Roger E. Palmenberg

TERM: Spring 2017 - 16 weeks - January 19 through May 13 including –

no class during Spring Break

CLASSROOM: Art Building - AB-133 – Main Campus

PHONE NUMBERS: Art Department, 480-423-6344

Instructor, 602-234-0696 ext 170 (M-F, days)

e-mail: [email protected]

OFFICE HOURS: By appointment with instructor

COURSE TIME: Tuesday, 3:00 PM through 8:45 PM

Plus two off-campus weekend trips (one day each)

OPEN STUDIO: The SCC Studio (AB-133) is available for individual use by prior arrangement

with the instructor. Often, class will be extended for those participants wanting to stay late to

work. The instructor will make the studio available on selected weekend days throughout the

semester; times and dates will vary and will be announced in advance.

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ART237 - Fashion Photography – Syllabus

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

THE TENTATIVE DATES FOR OPEN STUDIO SESSIONS ARE: TO BE DETERMINED. DATES ARE

SUBJECT TO CHANGE – FINAL DATES WILL BE ANNOUNCED IN TWO WEEKS IN ADVANCE – IN

CLASS.

PREREQUISITES: ART-138, or ART 140, and/or permission of the instructor. It is preferred

that students have portrait and/or commercial photography experience, be proficient shooting

and processing images, printing, and have an intermediate to advanced level of competency

with camera and studio lighting equipment. Cameras (digital or film) should have manual

settings to facilitate use with studio lighting; participants must assure themselves they are

competent with their equipment to avoid un-necessary class time figuring out how to use it.

TEXTBOOKS: “Vanity Fair” magazine subscription and student selected texts relevant to the

course subject (optional), class notes.

Optional: get a free subscription to ‘Rangefinder’ magazine via the Internet

(www.rangerfinder.com) to supplement class notes and ‘Vanity Fair’; other magazines

that have been popular include ‘Rolling Stone’, ‘W’, and ‘Vogue’.

COURSE COSTS: There is a course fee paid at the time of registration. “Vanity Fair”

subscriptions cost $15-20/year; sign up on-line (www.vanityfair.com). In addition, expect to

pay for recording media or film, processing, paper and printing. Expect to shoot every week

and to submit images for critique. This will be 20 or more rolls of film (50 or more large format

sheets) – or the equivalent number of digital images during this semester.

EQUIPMENT NEEDED: Camera (any format), tripod, lens selection; cameras should be of a

higher functionality (professional or ‘pro-sumer’ grade) including manual exposure controls.

A hand-held light meter is good to have, same for a radio slave.

YOUR CAMERA MUST BE ABLE TO UTILIZE OFF-CAMERA STROBE UNITS. THERE ARE

RADIO SLAVE UNITS AVAILABLE IN THE STUDIO. IT IS ESSENTIAL THAT YOU

BECOME FAMILIAR WITH THIS FUNCTIONALITY.

WITHDRAWAL: As defined in the SCC Student Handbook

ATTENDANCE: Success in this class is all about commitment. Attendance at (and

participation in) class demonstrates commitment. If you are going to miss class or be late,

please e-mail or call the instructor the day before.

The attendance policy is:

Miss two classes – you may be excused provided advance written notice is given;

Miss the third class – interview with instructor about your commitment;

Miss the fourth class and you will be dropped.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

GRADES: Class participation/assignments: 40%

Final Portfolio: 40%

Attendance: 20%

It is not possible to earn an ‘A’ grade without attending and participating in class activities,

presenting a critiqued portfolio that shows progression in the art form, turning in written

assignments – on time, and demonstrating a working understanding of the medium.

Just as it is important to the success of the class that we are able to attract models to the studio,

it is equally important that the models receive copies of the work produced. If you photograph

models coming in to the studio, it is very important for you to produce and to submit images

to those models, and to be sure there is a record of your submittal(s). Participants who make

images of the models and do not submit finished and critiqued work to the models will be

penalized by at least one grade level.

COURSE DESCRIPTION: The course is a workshop/seminar. The course premise is that the

model is a platform for product sales. The course will include a program of instruction to

familiarize participants with concepts of fashion photography as well as access to the SCC

studio and facilities to practice the concepts presented. Participants are expected to advance

their demonstrated skill level in portraiture. Images will concentrate on product sales –

clothing, possibly jewelry, and other. The model must complement the product. The course will

include application of the principles of design, lighting, composition, posing, and presentation

techniques to produce a portfolio demonstrating the course concepts suitable for submittal to an

advertising agency art director.

There will be ample opportunity to make images during class – both to practice the lighting and

set concepts as well as to photograph models and other class members. However, participants

should not expect to meet all of the final portfolio requirements without working outside of

class.

DISABILITY STATEMENT: Students with disabilities who believe they may need

accommodations in this class are encouraged to contact the Disability & Services Office,

Building SC-144 (Phone 480-423-6517). It is college policy to provide reasonable

accommodations to students with disabilities.

SAFETY CONSIDERATIONS: This course includes use of electronic devices that are capable

of shock or other injury; some of the studio equipment is heavy and could be a lifting hazard;

students are asked to assist in set preparation including use of step-ladders; there are tripping

hazards; the studio is crowded and often dimly lit. Exercise caution when performing these

tasks and using the equipment. Operating manuals are available, familiarize yourself with the

equipment before using it; if you are not familiar with the equipment, ask and the instructor

will assist.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

DISCLAIMER STATEMENT: Course content and topic sequence may change or be modified

in response to class needs. Modifications, if any, will be written and distributed when

appropriate to do so.

ASSIGNMENTS: In addition to the Final Portfolio (described below), there will be at least five

assignments during the semester. Assignments are to be submitted electronically by uploading

them into your assigned master file into the class computer; assignments will then be

transferred onto a flash drive or external hard drive and reviewed in class during critiques and

by the instructor outside of class. Assignments include:

VANITY FAIR CLONES – Three clones of participant-selected images will be created

and submitted for critique. The clone assignments are group projects – two to three

person groups select and create the work over a two to three week period.

COMPOSITE SHEET: Participants MUST prepare and submit a single composite sheet

(comp card) for one model suitable for self-promotion. The composite can be

submitted anytime during the semester.

CELLPHONE MINI-PORTFOLIO: Participants will produce a min-portfolio of three to

five images that have a common theme, location, and/or model (in different wardrobe,

or other) using the built-in camera in your cell phone. Portfolios will be critiqued on

technique and style and should demonstrate use of the optical slave for studio lights or

the use of hot lights.

Periodically, there will be assignments to deconstruct images from ‘Vanity Fair’ or other so that

you can become more proficient in looking at images as you advance your skill level to produce

them. These assignments will neither count toward nor detract from your grade.

FINAL PORTFOLIO: Students will photograph and display a personal portfolio by the end of

the semester. The portfolio will demonstrate progress in the art form and must include at least

one image from the ‘Set Selections’ column on the following table (matrix). Complete this

matrix with check marks indicating your portfolio selections, no more than four images per

model.

ART237 - Fashion Photography

FINAL PORTFOLIO SELECTIONS MUST INCLUDE AT LEAST ONE

IMAGE FROM EACH OF THE TYPES BELOW

Set Selections: at least one image from the selections below

Full Length

Accent Piece

Motion Study

Runway Location

Group MIXED MEDIA

OPTION

Studio - high key

Studio - low key

Studio - hot lights

Outdoor, ambient

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Mixed lighting

IMAGE TYPE: AT LEAST ONE EACH FROM THESE SELECTIONS

Black & White

Color

Students will show work-in-progress for class critique throughout the semester. This is a

component of class participation. The final portfolio is to include a ‘mix’ of images

demonstrating the concepts learned in class.

In addition:

Participants are encouraged to complete image records for each image;

Participants MUST have model releases – to be submitted with each image.

There are three acceptable submittal formats for the final portfolio: matted prints, prints in a

commercial folio/binder, and a self-published book – or you may submit a mixed media DVD.

DO NOT SUBMIT THE FINAL PORTFOLIO ELECTRONICALLY – PART OF THE

EXERCISE IS TO GET YOU USED TO PRODUCING QUALITY HARD COPY PRINTS.

For the matted print portfolio:

Ten (10) prints;

You may either print yourself or have them done commercially. Commercial prints

must be ‘custom’ grade; ‘machine’ prints are not acceptable.

Prints must be matted, not framed. A single over-mat with backing is acceptable. Mats

can be either white or black.

The minimum print (not mat) size is 4x5; the maximum print size is 8x10. All matted

prints must be the same overall size (11x14 max) and be placed in a box.

For the bound ‘Folio’:

Twelve (12) prints, minimum;

The final portfolio can be prints in a folio/binder.

You will be expected to present demonstration sheet inserts for critique to assess the

layout, borders, presentation quality, and other factors as the semester progresses.

Purchase a commercial quality folio binder to accommodate minimum 11x14 size prints,

Design your prints to include logo/personal contact information, uniform borders and

border colors unless you print borderless – BE CONSISTENT;

If you have a mix of vertical and horizontal prints, use a border and a large enough

binder that allows all prints to be viewed WITHOUT having to turn the folio;

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Prints in a folio facilitate change out and/or present images to clients. This is a

generally-accepted way of presenting your work in a commercial setting.

For the self-published book portfolio:

Twenty (20) prints, minimum;

The final portfolio can be a self-published book.

Any self-publishing software is acceptable (i.e. BookSmart – www.Blurb.com);

Self-published books will be critiqued on presentation, print quality, tonality, and

overall quality.

Image records and model releases must be submitted; these can be separate from the

book.

Students selecting this alternative must declare their intention no later than (TBD) and

will be required to show work in progress as prints.

Software proficiency is the individual’s responsibility to acquire – this is not a

component of the course.

For the Optional Mixed Media Presentation:

This optional presentation includes a short (i.e., 30-second maximum) B&W or color

video including a mix of still images and video footage with audio suitable for

commercial viewing (i.e. 1080 HD image quality). The intent of this option is to

introduce the video functionality on the newer DSLR cameras - although film-based

presentations are acceptable with prior approval of the instructor provided that the final

product is digital for presentation to the class on a DVD.

Selection of this final portfolio option does not negate the obligation to produce and

show still images during the semester.

The presentation will demonstrate the concepts presented in the semester;

The presentation can showcase product with a single or several models;

Audio can include royalty-free music as well as voice-over by the model(s);

The presentation can be produced with iMovie, Windows MovieMaker, or other editing

software. Instruction on editing is NOT a part of this syllabus Presentations will be

critiqued for clarity, quality, use of transitions, as well as demonstrating course concepts.

FIELD TRIPS AND WEEKEND WORKSHOPS:

Lecture demonstration at a commercial photography studio (Date to be announced).

There will be one, possibly two, off-campus trips scheduled for this semester. As the

semester progresses, a weekend workshop at an off-campus location will be organized;

this attendance-optional workshop will provide opportunity to work with models in a

studio location. The specific dates for these activities will be announced.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

CLASS EXHIBITIONS: There will be several opportunities to show work:

Display cases in the Art Building hallway.

Final portfolios are viewed collectively the last day of class; typically we ‘show’ in a

meeting room on campus. This semester, we will have an external reviewer

participating;

Possible public exhibition at a gallery. Nothing is firm as of the start of the semester.

PLEASE SUPPORT THE COLLEGE’S ON-GOING OUTREACH PROGRAMS BY SUBMITTING

A CD WITH YOUR FINAL PORTFOLIO. IMAGES SHOULD BE NO BIGGER THAN 8X10 AT

300 DPI, JPEG. YOUR IMAGES WILL BE CONSIDERED TO ASSIST WITH PUBLICITY.

MODELS: The success of the class is dependent on the availability of models. Class

participants are encouraged to invite models to the class. Everyone photographing a model is

expected to submit either prints or images in electronic media to the model within one-month.

A sign-up list and blanket model release will be kept for each model indicating the class

participants involved with that individual as a means to follow-up on the image production.

Submittal of these images is a component of class participation. NO OTHER MODEL

RELEASES WILL BE ALLOWED FOR MODELS BEING PHOTOGRAPHED ON CAMPUS.

When models pose for class, it is imperative that images be produced and given to them. To

facilitate this process, it is essential that finished, critiqued images be sent to each model. To the

extent practical, we will attempt to create individual exportable files for each model including

the work of each participant, indexed with the participant’s name. If you elect to send images

directly to the model(s), please provide some tangible evidence to the instructor.

THE INSTRUCTOR WILL NOT BE RESPONSIBLE FOR CREATING OR DISTRIBUTING

COMPLETED IMAGES TO THE MODELS. COMPLETION OF THIS WORK IS A

COMPONENT OF CLASS PARTICIPATION AND WILL AFFECT GRADES.

CIVILITY STATEMENT: To establish a positive learning environment for this class,

As the instructor, I am expected to be professional, courteous, respectful, and empathetic to

class participants – and to:

Begin and end class sessions on time,

Be prepared for each class session,

Provide academic feedback and grade assignments in a timely manner,

Be available for individual consultation, and

Clarify assignments and inform participants of any adjustments to the schedule.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

As a class participant, you are expected to be reflective, courteous, respectful, and empathetic to

other participants, the instructor, models, and other College staff assisting you in your learning

– and to:

Attend the class sessions and be on time,

Be prepared for class sessions,

Interact with other participants, the instructors, and the models in a harmonious manner

that is conducive to creative work – disruptive, argumentative, or contentious behavior

will not be tolerated and will be the basis for being summarily dropped.

Participate in class activities,

TURN OFF CELL PHONES AND DO NOT TEXT MESSAGE DURING CLASS,

Follow instructions and complete assignments,

Keep up with and turn in assignments by the due dates,

Put forth your best effort,

Ask questions when you don’t understand,

Maintain knowledge of your grade status,

Contact the instructor right away about concerns or situations that interfere with your

success in the class, and

Comply with policies found in the College catalog and Student Handbook.

Please refer to the Scottsdale Community College catalog and Student Handbook which address

specific policies required of all students (and faculty):

Attendance (AR 2.3.2)

Sexual Harassment (AR 2.4.4 & 5.1.8 – 17)

Copyrights (AR 2.4.5 & 3.2)

OUTCOME AND NEEDS ASSESSMENT: Advancing the skill level of class participants

through effective teaching and successful learning is an over-arching goal. Progress can be

assessed by comparing images produced at the start of the class with those included in the final

portfolio. This comparison is useful through the satisfaction of seeing your work improve; it is

useful for the instructor as a means to refine the syllabus – this win-win system has proven its

merits in the past. The results of this process are documented.

OTHER COMMENTS:

The theme of the class is Fashion Photography. In Fashion Photography, the model is a

platform for product sales. The class will explore concepts that take off from competent

portraiture to achieve presentation of products (i.e. clothing, jewelry, shoes, make-up,

etc.) in advertising or other visual media.

There is no capture media preference - use film or digital capture, color and/or black &

white. Class critiques will be either via digital media with projection or hard copy prints.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

Formal presentations will be in print media, self-published books, or as a mixed media

DVD (optional).

A digital camera will be used to facilitate class demonstrations. We may explore film

scans and digital manipulation, although this is not a part of the current syllabus; there

are several classes at SCC that are set up to provide this instruction.

The class will be format non-specific. We will use the studio facilities at SCC – lighting,

backdrops, and field sessions are all part of the class – field locations will be announced.

The class will include lectures on technique, presentations of student work, presentation

of other artists’ work, and other presentations. Fashion photographers we will be

discussing include: Steichen, Irving Penn, Albert Watson, Greg Gorman, Annie Leibovitz,

Timothy Greenfield Sanders, Avedon, and others.

There will be guest speakers. The goal is to have a fashion designer, representatives of

modeling agencies, possibly media representatives, and professional photographers.

There will be a limited discussion on historical fashion photography including

daguerreotypes and pictorialists.

There may be several quizzes in the semester. These quizzes are more for the instructor

than the students since they are an effective means for measuring interest and progress.

There are dozens, if not hundreds, of books on posing and lighting techniques – get one if

you feel you must. The class textbook(s) will be “Vanity Fair” magazine and Xeroxed

notes from the instructor – we are looking for fresh style, evolving work, and the best in

the field….

The class will include production of up to three image ‘clones’ from Vanity Fair’.

There will be outside assignments. This class is all about making images; expect to shoot,

develop, and print more than 20 rolls of film (50 or more large format frames), or the

equivalent number of digital images in order to meet the class objectives.

For film capture, the instructor is available on a limited basis to provide darkroom

assistance. We may share darkroom time with other classes such that other instructors

may be ‘on duty’ during these sessions. The instructor will make time available on

weekends for additional assistance.

There is a continual need for models. If you know persons interested in modeling, please

let the instructor know. In the absence of outside models, class participants will be asked

to share modeling.

Class participants are encouraged to identify outdoor locations. Photograph them and

help maintain a database of suitable ones for the class.

FREQUENTLY ASKED QUESTIONS:

1. What if my model friend doesn’t want to be photographed by others except me? Models

coming into the class need to understand before coming that others in the class will want

to photograph them. This is part of the class experience and helps everyone become

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better able to work with persons unfamiliar to them. Explain this to your model and if

this policy is unacceptable, do not bring them to class.

2. Do I have to share my model(s)? See the response given above.

3. Can I access the studio on other non-class days? The studio is available for certain time

blocks indicated on the sign-up sheet outside the door. Use the sign-up sheet. Be

advised that the course instructor is not on-campus any other time than Tuesday

afternoons. This means you will need to coordinate your studio time with another

instructor to gain access to the equipment locker for the lights, etc. Weekend open

studio times will be scheduled throughout the semester.

4. What about wardrobe for the model(s)? There is a limited set of clothes for use by our

(female) models. Encourage your models to bring clothing they are comfortable

wearing – and bring a selection.

5. What about model releases? There is a blanket model release and conditions of use

document that is the only release to be used for models being photographed on campus.

Copies are available through the instructor. Children will need written permission from

their parents – as indicated on the blanket model release.

6. How does my camera work with studio lighting? Read the camera manual and become

familiar with this functionality. Bring the manual with you to class. If you don’t have a

copy of the manual, do a Google search on the web and find a source to get a copy.

Practice.

7. How late can I stay after class? Within reason. Remember, class extends until 8:30 PM.

Be sensitive to the model, the college’s janitorial staff, and the instructor. It is very

satisfying to see work being done and the excitement associated with it making it hard

to ‘shut down’. Have your model(s) arrive at 5:00 PM to be ready to begin the session.

Pre-plan the session beforehand. Avoid overly complex sets, lighting, and wardrobe.

8. Is nudity allowed? Work in class is limited to photographing non-gender specific body

parts. If you and the model want to go further, do so off campus.

9. Can I sell my work? Do not bring models into class for commercial work - ; do your

commercial work off-campus. The blanket model release contains the restriction on use

of images produced during class.

10. Are there commercial opportunities associated with this class? Often, there are requests

for quotation for commercial work. The instructor will notify class participants via e-

mail of these opportunities when they become available. The business of fashion

photography is a topic for discussion during the semester.

NOTE:

PLEASE SIGN AND RETURN THE FORM TITLED ‘ACKNOWLEDGEMENT

OF RECEIPT OF THE COURSE SYLLABUS’ INCLUDED WITH THE

COURSE HANDOUTS AT THE START OF THE CLASS.

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WEEK-BY-WEEK COURSE CONTENT AND CALENDAR

Note: The weekly content is subject to change depending on individual

and collective needs in the class.

Weeks 1 through 4 are focused on:

Introductory concepts;

A review of ‘classic’ fashion photography

Studio sessions to review lighting and portraiture concepts.

WEEK 1: January 17

1. Introductions - instructor and students;

2. Collect student names, addresses, and e-mail;

3. Handout course description and schedule, grading policy, review and discuss Final

Project (see OTHER COMMENTS), class performance standards; discuss scholarship

opportunities, outcome assessment

4. Textbook discussion – subscriptions to Vanity Fair, other texts.

5. Discussion – concepts of fashion photography. The model must complement the

clothing (or other product) – form, fit, color, lighting, set design all work together to

complement the product.

6. Discussion on film choices, formats, camera selection and lenses.

7. Handout and discuss ‘Image Record’ sheets and Model Release forms.

8. Discussion and demonstration of studio equipment, studio use, darkroom

availability and use including rules, safety, etc.

9. Discussion of SCC policy on borrowing equipment;

10. Discussion on models and locations;

11. Question and answer session.

12. Assignment 1: Get a single copy of “Vanity Fair”, select and ‘deconstruct’ one

portrait from it (old copies are readily available for a nominal cost); bring at least one

example of work to class for group viewing and critique – select a print appropriate

to fashion photography and present its rationale, etc. Due: Next week.

WEEK 2: January 24

1. Take attendance, add/drop, e-mail list update;

2. Review and discuss Assignment 1 – “Vanity Fair” image deconstruction;

3. Review policy on after hour use of studio facilities at SCC;

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4. Random selection and viewing of student work, discussion, critique.

5. Discussion of selected images from ‘Vanity Fair' and the image deconstruction.

6. Discussion/demonstration: High/Low Key Lighting.

7. Studio/Outdoor sessions in groups or individually.

8. Assignment 2: Two week assignment - produce a ‘Vanity Fair’ clone - break down

class into two or three person groups, select and produce one image from the current

‘Vanity Fair’ – for group viewing and critique on February 9.

WEEK 3: January 31

1. Add/drop, attendance, update e-mail list

2. Review/continue discussion of ‘High/Low Key Lighting’

3. Review preparation of Image Record diagrams.

4. Discussion – Introduction to Color; handout: color wheel

5. Studio sessions in groups or individually to review the lighting concepts previously

discussed.

6. Assignment: Continue production of ‘Vanity Fair’ image clone.

WEEK 4: February 7

1. Add/drop and attendance, update e-mail list;

2. Update on class visit to photography studio.

3. Presentation of Assignment 2, the first ‘Vanity Fair’ clone images.

4. Discussion (Edward Steichen and Irving Penn) to demonstrate concepts – class

discussion.

5. Review of earlier topics.

6. Discussion – Selective Focus for accent pieces

7. Studio/Outdoor portrait sessions.

8. Assignment – Deconstruct one image from ‘Vanity Fair’ and continue production of

random subject images.

At the conclusion of this class, everyone should have shown and been critiqued on at least two

images.

Weeks 5 through 9 will focus on:

Studio work to assist portfolio development;

Guest presentations;

Portfolio critiques.

WEEK 5: February 14

1. Attendance, submit/return assignment (image deconstruct)

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2. Presentation and group critique of earlier work.

3. Review/Continue discussion of earlier topics.

4. Discussion – Albert Watson.

5. Guest speaker: to be determined

6. Studio/Outdoor portrait sessions.

7. Assignment: ‘Vanity Fair’ image deconstruct; random subjects demonstrating

concepts already discussed.

WEEK 6: February 21

1. Attendance roster, return assignments

2. Handouts: syllabus with lecture notes, “The Photographer’s Right”, “The

Confrontation”

3. Random presentation and critique of student work.

4. Discussion – Portfolio presentations – printing, mat size, etc.

5. Deadline to declare intention to produce self-published book;

6. Studio/Outdoor portrait sessions.

7. Assignment 3: Two week assignment - produce a ‘Vanity Fair’ clone - break down

class into two – or – three person groups, select and produce one image from the

current ‘Vanity Fair’ – for group viewing and critique on March 8.

WEEK 7: February 28

1. Attendance, turn in, return assignments

2. Student Presentation and critique of earlier work

3. Review/Continue discussion of earlier topics.

4. Guest speaker.

5. Studio/Outdoor sessions.

6. Assignment: ‘Vanity Fair’ image deconstruct. Continue production of portfolio. At

this point in time, students should have completed at least four images suitable for

inclusion in the final portfolio.

WEEK 8: March 7

1. Attendance, turn in, return assignments

2. Presentation of class work – Vanity Fair ‘Clone – 2’

3. Bring portfolio and in-progress work for random presentation and critique.

4. Studio/Outdoor sessions.

5. Assignment: Random portraits of interesting subjects.

WEEK 9: March 14 – No Class - Campus Closed for Spring Break

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

Weeks 10 through 14 will focus on:

Completion of the final portfolio;

Visit to a commercial studio;

Outdoor location work;

Business considerations for Fashion Photography.

WEEK 10: March 21 – Studio Visit (tentative)

WEEK 11: March 28

1. Attendance, turn in assignments

2. Review of studio visit;

3. Comments on grading policies and impressions so far.

4. Discussion – outdoor location work with a schedule for specific locations

5. Studio/Outdoor sessions – individual and groups.

6. Assignment 4: Two week assignment - produce a ‘Vanity Fair’ clone - break down

class into two – or – three person groups, select and produce one image from the

current ‘Vanity Fair’ – for group viewing and critique on April 19.

WEEK 12: April 4 – POSSIBLE OUTDOOR LOCATION DESTINATION

WEEK 13: April 11

1. Attendance, turn in, return assignments

2. Presentation of student work-in-progress. Bring in portfolios for individual review

and critique of progress.

3. Discussion – Richard Avedon

4. Discussion and demonstration: Runway Modeling and Lighting

5. Studio/Outdoor sessions.

6. Assignment: Continue production of portfolios.

WEEK 14: April 18

1. Attendance, turn in, return assignments

2. Presentation of Assignment 4 – Vanity Fair ‘Clone – 3’

3. Introduction to “The Business of Fashion Photography” – catalog work, reportage,

studio/glamour – marketing & advertising – promotional techniques, media

considerations (i.e. niche markets), advertising.

4. Individual discussions with instructor – ‘catch-as-catch can’.

5. Operating a Photography Business

a. Considerations: personal, financial

b. Small Business Practices

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

c. Promotional Techniques

d. Personal experiences

6. Discuss presentation locations and select student presentation sequence for

individual portfolios.

7. Discussion of final submittal – 10 finished prints, image record, contact sheets, prior

print with critique if the final one is a re-print of an earlier version.

8. Open discussion of topics discussed during the semester.

9. Studio/Outdoor sessions.

10. Assignment: Continue production of portfolios. It is permissible, in fact

encouraged, to re-print individual images as techniques improve...

WEEK 15: April 25

1. Discussion and review of comp cards. This assignment is due by the end of the

semester.

2. Time available for personal critiques and/or printing demonstration.

3. Open discussion of topics discussed during the semester.

4. Studio/Outdoor sessions.

WEEK 16: May 2

5. Time available for personal critiques and/or printing demonstration.

6. Class critique

7. Open discussion of topics discussed during the semester.

8. Studio/Outdoor sessions.

WEEK 17: May 9 – Last Day of Class

1. Presentation and critique of student portfolios.

THERE IS A CONTINUAL NEED FOR MODELS – A MIX OF TALENT IS VERY

IMPORTANT – SEX, AGE, GENDER, ETHNICITY, AND PHYSIQUE.

INVITE FRIENDS OR ACQUAINTANCES TO CLASS FOR SITTINGS WITH PRIOR

ARRANGEMENT WITH THE INSTRUCTOR.

A BLANKET MODEL RELEASE WILL BE KEPT FOR EACH MODEL TOGETHER WITH A

LIST OF THE CLASS PARTICIPANTS INVOLVED WITH THAT MODEL AS A MEANS

TO ASSURE SUBMITTAL OF IMAGES TO THE MODELS IN A TIMELY MANNER.

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

ACKNOWLEDGEMENT OF RECEIPT OF THE

COURSE SYLLABUS

I, _________________________________________, hereby acknowledge that

I have received a copy of the course syllabus for ART 237- Fashion

Photography for the Spring 2017 semester at Scottsdale Community

College (Main Campus). The course instructor was Roger E. Palmenberg.

_______________________________________ _______________

(Signature) (Date)

______________________________________

(Print Name)

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Copyright © 2017 by Roger E. Palmenberg – All Rights Reserved

MCCCD Official Course Description:

Fashion Photography 3 Credits 5 Periods

Fashion photography for product sales. The model is a platform for product sales. Application

to commercial photography, marketing, advertising, illustration, and interpersonal

communication. Prerequisites or co-requisites: ART140 and Photo2/3 or permission of

instructor.

MCCCD Official Course Competencies:

Fashion Photography:

1. Use camera and lighting in studio and outdoor settings. (I)

2. Utilize compositional theories as related to and incorporated into the foundational

elements of design. (II)

3. Employ design and composition concepts to critically evaluate photographs. (II)

4. Examine and review the historical foundations of fashion photography. (II)

5. Utilize photography skills to produce fashion photographs. (III)

6. Utilize marketing and advertising theories to edit fashion photographs. (IV)

7. Present a fashion photography portfolio for critique and evaluation. (V)

MCCCD Official Course Outline:

Fashion Photography:

I. Camera and lighting

a. Studio

b. Outdoor

c. Corrective techniques

II. Composition and design

a. Evaluate photographs

b. Historical foundations of fashion photography

c. The model as a platform for product sales

III. Production of fashion photographs

IV. Marketing and advertising

a. Promotional techniques

b. Media considerations

i. The business of advertising

ii. Niche markets

V. Presentation of fashion photograph portfolio